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Once considered the golden age of French printmaking, Louis XIV’s reign saw Paris become a powerhouse of print production. During this time, the king aimed to make fine and decorative arts into signs of French taste and skill and, by extension, into markers of his imperialist glory. Prints were ideal for achieving these goals; reproducible and transportable, they fueled the sophisticated propaganda machine circulating images of Louis as both a man of war and a man of culture. This richly illustrated catalogue features more than one hundred prints from the Getty Research Institute and the Bibliothèque nationale de France in Paris, whose print collection Louis XIV established in 1667. An esteemed international group of contributors investigates the ways that cultural policies affected printmaking; explains what constitutes a print; describes how one became a printmaker; studies how prints were collected; and considers their reception in the ensuing centuries. A Kingdom of Images is published to coincide with an exhibition on view at the Getty Research Institute from June 18 through September 6, 2015, and at the Bibliothèque nationale de France in Paris from November 2, 2015, through January 31, 2016.
Race on Display in 20th- and 21st-Century France argues that the way France displayed its colonized peoples in the twentieth century continues to inform how minority authors and artists make immigrants and racial and ethnic minority populations visible in contemporary France.
Throughout the early modern period in France, surgeon men-midwives were predominantly associated with sexual impropriety and physical danger; yet over time they managed to change their image, and by the eighteenth century were summoned to attend even the uncomplicated deliveries of wealthy, urban clients. In this study, Lianne McTavish explores how surgeons strove to transform the perception of their midwifery practices, claiming to be experts who embodied obstetrical authority instead of intruders in a traditionally feminine domain. McTavish argues that early modern French obstetrical treatises were sites of display participating in both the production and contestation of authoritative knowledge of childbirth. Though primarily written by surgeon men-midwives, the texts were also produced by female midwives and male physicians. McTavish's careful examination of these and other sources reveals representations of male and female midwives as unstable and divergent, undermining characterizations of the practice of childbirth in early modern Europe as a gender war which men ultimately won. She discovers that male practitioners did not always disdain maternal values. In fact, the men regularly identified themselves with qualities traditionally respected in female midwives, including a bodily experience of childbirth. Her findings suggest that men's entry into the lying-in chamber was a complex negotiation involving their adaptation to the demands of women. One of the great strengths of this study is its investigation of the visual culture of childbirth. McTavish emphasizes how authority in the birthing room was made visible to others in facial expressions, gestures, and bodily display. For the first time here, the vivid images in the treatises are analysed, including author portraits and engravings of unborn figures. McTavish reveals how these images contributed to arguments about obstetrical authority instead of merely illustrating the written content of the books. At the same time, her arguments move far beyond the lying-in chamber, shedding light on the exchange of visual information in early modern France, a period when identity was largely determined by the precarious act of putting oneself on display.
This dynamic collection presents a new way of writing national and global histories while developing our understanding of France in the world through short, provocative essays that range from prehistoric frescoes to Coco Chanel to the terrorist attacks of 2015. Bringing together an impressive group of established and up-and-coming historians, this bestselling history conceives of France not as a fixed, rooted entity, but instead as a place and an idea in flux, moving beyond all borders and frontiers, shaped by exchanges and mixtures. Presented in chronological order from 34,000 BC to 2015, each chapter covers a significant year from its own particular angle--the marriage of a Viking leader to a Carolingian princess proposed by Charles the Fat in 882, the Persian embassy's reception at the court of Louis XIV in 1715, the Chilean coup d'état against President Salvador Allende in 1973 that mobilized a generation of French left-wing activists. France in the World combines the intellectual rigor of an academic work with the liveliness and readability of popular history. With a brand-new preface aimed at an international audience, this English-language edition will be an essential resource for Francophiles and scholars alike.
Catalog of an exhibition held at the Metropolitan Museum of Art, New York, October 1, 2013-January 5, 2014.
Many years before Brigitte Bardot and Catherine Deneuve, the French cinema produced a host of glamorous female stars designed to rival their Hollywood counterparts. Bathed in soft light, discussed adoringly in fan magazines and shown wearing the latest fashions, these 'cinematic stars' emerged in opposition to France's traditional stage-based stardom, while remaining, through the roles they played and the looks they sported, a distinctly French phenomenon. This book examines how these stars influenced the narratives and look of their films, contributed to defining the period's new, emancipated.
The French Second Empire (1852-70) was a time of exceptionally rapid social, industrial and technological change. French literature also underwent fundamental changes during this period as writers embraced ‘modernity’ and incorporated new technologies, fashions and inventions into their work. Focusing on cultural areas such as exhibitions, transport, food, dress and photography, ‘Changing France’ shows how apparently trivial aspects of modern life provided Second Empire writers with a versatile means of thinking about deeper issues. This volume brings literature and material culture together to reveal how writing itself changed as writers recognised the extraordinarily rich possibilities of expression opened up to them by the changing material world.